Classical Bust Study

110 minutes in total
2 Videos – 55 minutes each with English subtitles

YOUR PRICE – $80 $59

Still Life Drawing

110 minutes in total
2 Videos – 55 minutes each with English subtitles

YOUR PRICE – $80 $59
Head Drawing

110 minutes in total
2 Videos – 55 minutes each with English subtitles

YOUR PRICE – $80 $59
Portrait Drawing

110 minutes in total
2 Videos – 55 minutes each with English subtitles

YOUR PRICE – $80 $59
Human Figure Drawing

110 minutes in total
2 Videos – 55 minutes each with English subtitles

YOUR PRICE – $80 $59
The Foundation Training Bundle
A total of 330 minutes of instructions and demonstration
YOUR PRICE – $240 $139
The Comprehensive Training System
A total of 550 minutes of instructions and demonstration
YOUR PRICE – $400 $199

What other artists say about the drawing system:

“The drawing method represents ‘Russian Structure Analysis’ which shows solidity of forms, hi-degree of observation. This is combined with Yim Mau Kun’s impressionistic approach which merged the structural analysis with emotional response to reality with refined aesthetic standards.” – Raul Deshpande

 “There has been a resurgence in interest in rigorous academic art training in traditional drawing and painting techniques, and in studying with a master to learn how to draw and paint with accuracy with an emphasis on observation, theory and craft, while creating works of classical and contemporary beauty. These videos by Yim Mau-kun are a window into the studio of one such master, an experienced and award winning artist and educator who can trace his artistic lineage back to Chinese Social Realism and Soviet Socialist Realism, and to the tradition of great Russian Portrait painters like Kramskoy, Serov, Repin, and Fechin.” – Julius Finley

 “What I like about the video is that Yim Mau-Kim offers a wonderful and effective demonstration on how to do a structural drawing in the Russian Academic Tradition. He demonstrates how to effectively execute a portrait lay-in, but shows you how to keep the structure very lose, so that placement and proportions can be changed later. This is started with long straight lines, and gradually builds up to a beautiful description of the model through ongoing consideration of anatomy, proportion, and perspective. He shows you how revisions can be made right up to the very end of the blocking-in process. The sense of looseness in the second lay-in was really quite beautiful. This is also the key for a foundation of good painting.” – Jonathan Masters